The example of Lauren Michelle is a difficult example to prove racism here in the US. Great voice and easy to listen to. Why she cannot find roles in the US may have more
to do with the cast she'd be cast with or her age/experience or her sound as much as it could embarrassingly be her race. In the classical world in the US, they're a stuck up bunch.
In the US, the powers that be have always compared themselves to Europe and felt there is this mythical standard that must be upheld.
So many examples of the fear of casting talent when they tried and true will do; maybe nothing to do with race but stupidity and fear of young talent who haven't received
enough praise from certain critics in NYC community. or. Her vowels in a certain language may piss off some director, and boom, discredit her talent.
I wonder what and if Terry Teachout had reviewed her and his take. - A critic may be the culprit and therefore, casting will be seen as difficult.
I guess what I'm saying is there are so many elements to casting roles, I'm tending to believe racism isn't the issue.
As for the anecdotal evidence Jessye Norman, I can't imagine the slurs as too truthful but then I can't deny them as anything but truthful. Artists like all people are
serving Tea about others daily and this gets to casting and role getting. There's so much action behind the scenes it's a wonder there is sanity coming from the
art community.
As for musicians themselves - it's cutthroat. Conductors want the best musicians they can get. Like the Yankees, or any other sports team, they seek the best.
if you want the A listing
you had better be better than the A listers who are already sitting in the chair you want. Color of skin has pretty much zero to do with getting the job.
Some of the best and most lasting performances in memory in the classical music genre have come from the small independent groups in lesser halls
and those are the musicians who didn't get a chair in the Philharmonic.
One of the most destructive powers working against the musician is the cost of having a musician play.
There are less Bway musicals and dance theatre employing live musicians - much of it is in recording - So many musicians, so little work. Local 802
tries to get them work but there just isn't work. At one time all the finest
musicians navigated to the musicals - more money less work - easy substitutions. Being in a big orchestra often had less pay and more strict in their work policies.
Always prestigious but too often those musicians were poached or were shared between the big hall and the musical. Now, much has changed.
I just don't think racism has as much to do with the hiring of black musicians and vocalists as this article wants to make out.